Japanese Teapots: Kyusu, Houhin and Dobin Compared

One Cup of Tea Changes the Morning

There is something almost every first-time visitor to Japan is moved by, and one of those things is how the tea tastes. It is the same "green tea" — so why is the cup you drink in Japan so different? Half the secret lies in the quality of the leaf. The other half lies in the kyusu.

A kyusu is not simply a container for pouring hot water. It is the sanctuary where leaf and water meet, and every element — the material, the form, the filter structure inside — shapes the taste of the final cup.

Pots and teapots are loved all over the world, but the Japanese kyusu carries a philosophy of its own. Where the Western teapot developed as a way to serve black tea beautifully, the kyusu was refined over centuries as a way to draw the delicate flavour of green tea, sencha and gyokuro to its fullest.

This guide covers everything: the types of Japanese kyusu, the materials, how to choose one, and how to care for it. We hope you find the kyusu you will keep for life.

The History of the Kyusu, Inseparable From Japanese Tea

How the kyusu came about

The kyusu reached Japan in the middle of the Edo period, in the seventeenth and eighteenth centuries. A small spouted pot known in Chinese as chahu came over from China and was absorbed into Japanese tea culture.

What mattered most was the spread of sencha in the mid-Edo period. Until then matcha — powdered leaf whisked in a bowl — had been the practice, but sencha simply meant putting whole leaves into a pot and pouring hot water over them. As sencha spread, the kyusu took root deep in Japanese daily life.

A whole culture called senchado grew up around it, and the kyusu became an object of fine craft as well. Kyusu made by master potters of the period can still be seen at auction and in museums today.

Tokoname and the kyusu

In Japanese kyusu production, Tokoname in Aichi Prefecture holds a special place. Tokoname kyusu are said to account for roughly eighty per cent of the national market. There is no question that Tokoname's shudei (red clay) kyusu set the standard for kyusu culture in Japan.

We have written about Tokoname ware in more detail in the guide below.

• Tokoname Kyusu: Why Red Clay Makes Tea Taste Better

Kyusu Materials, Regions and Character

The material of a kyusu affects the taste of the tea directly. Let us look closely at the main materials and what each one does.

Tokoname shudei kyusu (stoneware)

Made in Tokoname City, Aichi Prefecture, from an iron-rich red clay called shudei. Because it is high-fired without glaze, fine pores remain in the clay. Those pores are said to absorb some of the astringent compounds in tea and round the taste out.

It works especially well with green tea, hojicha and genmaicha, and the surface only improves over years of use — enthusiasts say the tea itself grows mellower.

Hagi ware kyusu (stoneware)

Because of the nature of its clay, Hagi ware from Hagi City in Yamaguchi Prefecture undergoes what is called the "seven changes." As you use a piece, fine lines (crazing) open in the glaze and the colour of the tea soaks into them. Watching a kyusu grow into a colour of its own is the greatest pleasure for those who love Hagi ware.

It is soft at the lips and holds heat well. It is considered a good match for gyokuro and matcha.

Shigaraki ware kyusu (stoneware)

The coarse clay of Shigaraki in Shiga Prefecture produces a plain, powerful surface. The region's history is long, and its unadorned beauty embodies the spirit of wabi-sabi. This is a kyusu that suits teas with a little more character of their own, such as hojicha and bancha.

• Shigaraki Ware: Why Its Clay Sparkles After 1,200 Years

Arita and Hasami kyusu (porcelain)

Porcelain kyusu with clean sometsuke — indigo painting — on a white body. They absorb no water, so neither the colour nor the aroma of the tea soaks into the material, which makes them ideal if you switch between several different leaves. They are also easy to wash and hygienic. Best for anyone who wants the delicate aroma of gyokuro exactly as it is.

• Arita Ware: Japan's First Porcelain, 400 Years On
• Hasami Ware: Everyday Japanese Porcelain from Nagasaki

Kutani ware kyusu (porcelain)

A kyusu carrying Kutani's brilliant painting is often assumed to be for display, but it handles daily use perfectly well. As porcelain, it holds no aroma, so it works with any kind of tea. Used for a special occasion with guests, it adds a distinctive sense of ceremony.

• Kutani Ware: Japan's Boldest Ceramic Painting

Nambu ironware kyusu (cast iron)

Nambu ironware from Morioka and Mizusawa in Iwate Prefecture is among the most internationally recognised of Japanese crafts. An iron kyusu retains heat exceptionally well, keeping water hot for a long time. Trace iron dissolving into the water is also said to soften it.

There is one important caveat with Nambu ironware, however. Pieces with an enamel lining can be used as ordinary kyusu, but unlined bare iron pieces are called tetsubin and are for boiling water, not for putting leaves into directly. Always check before buying.

Tokoname, the Great Kyusu Region

Tokoname ware, fired around Tokoname City in Aichi Prefecture, is counted among the Six Ancient Kilns of Japan and is a traditional craft with over a thousand years of history. Its course since the late Heian period has consistently been a history of evolving as pottery for real life. Here we look at the background of the region and at the appeal of the kyusu that has become its byword.

A "pottery capital" raised by sea and hills

Tokoname sits on the west coast of the Chita Peninsula and prospered from early on as a hub for sea transport. That geography was a major factor in lifting Tokoname ware into a national brand.

Tokoname once produced large jars, vats and clay pipes in quantity. Enormous pieces fired in climbing kilns built into the hillsides went out by boat from Ise Bay to the whole country and supported people's daily lives. The town still carries a distinctive landscape from that era — brick chimneys, old kiln walls, and Dokanzaka, a slope walled with discarded clay pipes.

Heavy-industrial ceramic production dominated until the early Showa period, but after the war the region shifted with the times toward tea ware, bonsai pots and architectural tile — work demanding finer technique — and it holds its place today as one of Japan's leading pottery towns.

The essence of the Tokoname kyusu

The product that symbolises Tokoname ware is the red-brown shudei kyusu. Tea drinkers keep returning to it not merely for its beauty but because there is a physical basis for the way it changes the taste of tea.

• Iron rounds out the tea　Tokoname clay is high in iron oxide. Because a shudei kyusu is unglazed and high-fired, the tea touches the clay surface directly. The iron in the clay reacts with the tannins in the tea, and the astringency and bitterness are said to be moderated, leaving a rounder taste with the edges taken off.
• The ultimate lid fitting　Pick up a Tokoname kyusu and its precision is startling. A process called futasuri grinds lid and body into an exact fit, giving a high degree of airtightness. That keeps the aroma from escaping and draws the maximum out of the steeping. The clean cut-off of the spout is likewise the product of skilled handwork.
• The pleasure of nurturing it　Just as Hagi ware has its "seven changes," the Tokoname shudei kyusu is a piece that grows. The unglazed surface takes in the oils of the tea as you use it, gradually developing a deep, soft lustre. This is called yoko, and there is a whole culture around enjoying the process of raising a tool into something entirely your own.

Tokoname is a rare region where a medieval tradition of bold large-scale work merges with the fine kyusu-making technique refined from the early modern period onward. The kyusu in particular is regarded worldwide as the ultimate tool supporting Japanese tea culture. A cup poured from a Tokoname kyusu should turn what would be simply a drink into a rich and layered cultural moment.

Form and Function: The Design Details Worth Knowing

Where the handle sits

Kyusu fall into three broad types according to the position of the handle.

• Yokode (side handle)　The handle projects from the side. The most common type, and easy to hold in one hand. It handles Japanese tea of any kind.
• Ushirode (back handle)　The handle sits opposite the spout — the familiar teapot form. Usually larger, and suited to brewing for several people at once.
• Uwade (overhead handle)　An arched handle across the top. Common in Taiwanese tea ware and used in Japan as well. It stays cooler, which makes very hot water easier to handle.

Types of strainer

The strainer inside a kyusu is the single most important part of how it functions.

• Fine holes in the clay　Common in stoneware kyusu. The size of the holes determines how much leaf particulate passes through. With fine leaf — green tea blended with matcha, for instance — holes that are too fine can clog.
• Metal mesh　A metal strainer that can be fitted afterwards. It works in any kyusu and can be replaced if it clogs.
• A perforated dome (bullet-shaped clay strainer)　Common in Tokoname kyusu, with a hemispherical clay strainer integrated inside. Easy to keep clean and highly functional.

Choosing a Kyusu by the Tea You Drink

Sencha and fukamushi sencha

The most common green tea in Japan. As a rule, brew at around 80°C. A Tokoname shudei kyusu or an Arita porcelain kyusu is an especially good match. A capacity of 250–400 ml is the easiest to use.

Gyokuro

The leading fine tea. Brewed slowly at a low 50–60°C, it releases the maximum of its umami compound, theanine. A small Hagi or porcelain kyusu of 100–150 ml is ideal. There is also an argument that stoneware, which loses heat more readily, suits gyokuro's low-temperature extraction.

Hojicha and genmaicha

Hojicha and genmaicha, with their roasted aroma, are delicious brewed generously with hot water at 90–100°C. Making a large amount at once in a bigger Shigaraki or Tokoname kyusu of 400–600 ml is the Japanese way.

Matcha (whisked)

Strictly speaking a kyusu is not used for matcha, but if you are brewing bagged matcha in a pot, porcelain is best. Because no aroma transfers to the material, the delicate flavour comes through as it is.

How to Choose a Kyusu

Choosing by size

The first thing to think about when choosing a kyusu is size. The usual ranges are as follows.

• For one: 180–250 ml　For one generous cup of tea a day.
• For two: 250–400 ml　For an afternoon with a partner or a friend.
• For family and guests: 400–600 ml　A practical size for brewing several servings at once.

Choosing by material

Next comes the material. Weigh up the regional characteristics described above and choose the kyusu that suits how you will use it.

What to check before you buy

• Does the lid fit properly?　Ideally a kyusu lid fits so precisely that it will not fall out when you tilt the pot. If you are buying online, check whether the description mentions a high degree of lid-fitting accuracy.
• Does the spout cut off cleanly?　A kyusu that does not drip after pouring is the mark of good work. It is hard to judge from a photograph, but reviews saying it does not drip or that it pours well are a reliable sign.
• Is the weight right for you?　Nambu ironware in particular becomes seriously heavy once filled. If you are unsure about the strength of your hands, lighter stoneware or porcelain will be easier to use.

How to Care for a Kyusu

Basic care after use

When you finish, discard the leaves and rinse quickly with hot or cold water. Not using detergent is the Japanese way. With absorbent stoneware such as shudei in particular, detergent soaks into the material. If you do use detergent, limit it to porcelain kyusu.

To dry, remove the lid and stand the pot upside down so air passes through it thoroughly. Putting the lid back on while it is still damp invites mould.

Dealing with tea stain

Over long use, stain builds up inside. This is a natural change in a ceramic kyusu and part of its character. If it bothers you, fill it with hot water and leave it for a few hours, or rinse gently with a baking soda solution. Metal scourers and abrasives are strictly out — they will damage the surface.

Japanese Tea Culture and the Spirit of Wabi-Sabi

Look deeply into Japanese tea culture and you find a world of spiritual inquiry that goes far beyond quenching thirst. At its core is the way of tea, and the pillar supporting its aesthetic is the idea of wabi-sabi. When you pick up a tool such as a Tokoname kyusu, knowing the mentality behind it will make the everyday cup richer.

Wabi: finding beauty in what is lacking

"Wabi" originally carried negative meanings — to fall into poverty, to be disappointed. But the Muromachi-period tea masters Murata Juko and Takeno Joo, and then Sen no Rikyu, raised it into a spirit that affirms the beauty of insufficiency. Not lavish gold and silver, but something plain, stripped of excess, standing quietly — that is where value is found. What is imperfect, or simply made, is exactly where true beauty resides. The unhesitating unglazed texture of Tokoname shudei, and the flowing form that betrays no striving for effect, embody that spirit of wabi precisely.

Sabi: cherishing the passage of time

"Sabi," meanwhile, means the heart that cherishes the changes time brings. Metal rusts, wood decays, pottery gathers the marks of years. At a glance these look like deterioration, but in Japan that discolouration and wear was understood as the essence coming to the surface. The way a Tokoname kyusu takes in the compounds of tea and gains a soft lustre with use is that aesthetic of sabi exactly. It is not at its peak when new; it approaches completion by accumulating time alongside its owner and continuing to change. The porous nature of the clay is precisely what allows it to receive sabi.

If you would like to know more about the wabi-sabi aesthetic in Japanese ceramics and its history, please see the guides below.

• Reading Wabi-Sabi in a Single Bowl
• Wabi-Sabi in Ceramics: What It Actually Means
• Pottery That 'Grows': How Ceramics Change With Use

Ichigo ichie, held in a small universe

The most treasured phrase in the way of tea is ichigo ichie. The tea you brew at this moment is an encounter that will never come again in a lifetime. Using a Tokoname kyusu, watching how the leaves open, pouring carefully down to the last drop — the golden drop. The time that passes during those quiet movements brings a stillness in which you can face yourself, something rare in a hurried modern life.

If you would like to know more about the pleasure of an ichigo ichie encounter with a piece, and about reading the keshiki of one-of-a-kind ceramics, see the guides below.

• Ichigo Ichie: Why No Two Handmade Pieces Repeat
• Keshiki: How to Read the 'Landscape' on a Pot

Practising wabi-sabi today

We have grown accustomed to living surrounded by things that are new and perfect. But using a Tokoname kyusu daily and appreciating how it changes is the most accessible practice of wabi-sabi available today. Rather than fearing chips and stains, accept even those as the character of the piece. Treat a tool not as something to be used up and discarded but as a companion you live alongside. That spaciousness of mind connects to the vast, universe-like spirituality Sen no Rikyu found within the confines of a tiny tea room. The warmth in Tokoname's clay, and the skill a practised potter poured into it — all of it passes through the beautiful filter that Japan's long history calls wabi-sabi and gives depth to a single cup of tea. The kyusu, small tool that it is, is not merely a means of brewing good tea. It is a doorway into the Japanese heart.

A Kyusu Is a Tool for Conversation With Tea

Choosing a kyusu means deciding what kind of tea time you want to have. A morning of pausing over a mellow cup from a shudei pot; an evening of tasting gyokuro slowly, alone, from a kyusu raised in Hagi clay. A kyusu adds a small story to the tea you drink every day.

Nokaze introduces kyusu made with care by artists in Tokoname, Hagi, Arita, Shigaraki and other regions. Alongside Japanese tea, we hope you find the kyusu you will keep for a lifetime here.

Related Guides

More on the culture and history of Japanese ceramics

• A Short History of Japanese Ceramics, Jomon to Now
• Reading Wabi-Sabi in a Single Bowl
• Wabi-Sabi in Ceramics: What It Actually Means
• Kintsugi: How to Repair Pottery With Gold (and Why)
• Pottery That 'Grows': How Ceramics Change With Use
• Zen and Japanese Ceramics: Where the Aesthetic Began
• Ichigo Ichie: Why No Two Handmade Pieces Repeat
• Keshiki: How to Read the 'Landscape' on a Pot

More on Japan's pottery regions

• Japanese Pottery by Region: A Buyer's Map
• Japanese Pottery Styles: 10 Kiln Regions at a Glance
• Arita Ware: Japan's First Porcelain, 400 Years On
• Shigaraki Ware: Why Its Clay Sparkles After 1,200 Years
• Hagi Ware: The Tea Bowl That Changes Colour as You Use It
• Kutani Ware: Japan's Boldest Ceramic Painting
• Bizen vs Hagi: Two Opposite Ideas of Wabi-Sabi
• Tokoname Kyusu: Why Red Clay Makes Tea Taste Better
• Raku Ware: The Hand-Formed Tea Bowl, 15 Generations On
• Hasami Ware: Everyday Japanese Porcelain from Nagasaki

How to buy Japanese ceramics

• About Us｜Japanese pottery & culture
• Buying Japanese Pottery Online: What to Check First
• New Arrivals

Pieces available at Nokaze

• Tokoname Ware | Japanese Kyusu Teapots in Red Shudei Clay